The domestic box office saw a major shake-up this weekend as Hoppers debuted at No. 1 with a strong $46 million opening, while Warner Bros.’ highly anticipated The Bride! collapsed in its theatrical launch with just $7.3 million.
Hoppers debuted at No. 1 with a strong $46 million opening from 4,000 theaters. Pixar’s latest original animated feature also added an estimated $42 million overseas, lifting its worldwide opening to about $88 million. The film has been met with enthusiastic audience reactions — including an “A” CinemaScore and a 94% Rotten Tomatoes score — positioning it as Pixar’s most promising original launch in years.
The result is particularly notable because original animated films have faced a tougher theatrical environment in recent years compared to sequels and franchise properties. Hits like Inside Out 2 and Zootopia 2 have dominated the global box office, while original titles have struggled to match those heights. With strong word-of-mouth and the spring holiday corridor approaching, however, Hoppers appears well positioned to build momentum over the coming weeks as family audiences gradually turn out.
With spring holidays approaching and family films historically demonstrating long legs, analysts expect Hoppers to build momentum over the coming weeks, particularly as strong word-of-mouth spreads among family audiences.
While Pixar celebrated a comeback moment, Warner Bros. faced the opposite outcome. Maggie Gyllenhaal’s The Bride!, a feminist reinterpretation of Bride of Frankenstein starring Christian Bale and Jessie Buckley, opened in third place with $7.26 million from more than 3,300 theaters. The result was dramatically below the studio’s own expectations of $16–18 million and even behind more conservative industry projections.
The situation is particularly troubling given the film’s reported $90 million production budget. Audience reception has also been weak, with a C+ CinemaScore signaling poor word-of-mouth potential. Internationally, the film added only $6.3 million, bringing its global debut to a modest $13.6 million — far below what would be required for the project to approach profitability.
Industry observers say the film illustrates the difficulty of selling “elevated horror” concepts to broad audiences, especially when budgets climb beyond traditional genre thresholds.
Meanwhile, Paramount’s Scream 7 fell sharply in its second weekend but still secured the runner-up spot. The slasher sequel grossed $17.3 million, a steep 72.8% drop from its opening frame, but pushed its domestic total to $93.3 million. Worldwide, the film has already earned roughly $149 million and is on track to become one of the highest-grossing entries in the long-running franchise.
Despite the heavy drop, the film continues to benefit from strong interest among younger moviegoers and the return of franchise star Neve Campbell as Sidney Prescott.
Sony’s animated holdover GOAT continued its steady run, placing fourth with $6.6 million in its fourth weekend. The film has now earned $83.8 million domestically and $146 million worldwide against an $80 million production budget. Like several recent animated releases, the film is demonstrating durability rather than explosive opening-weekend performance.
Warner Bros.’ literary adaptation Wuthering Heights rounded out the top five with $3.75 million in its fourth frame. The film has collected $78.7 million domestically but has found a much stronger audience internationally, where it has generated $134.9 million. Its worldwide total now stands at approximately $213 million, putting the film on a clear path toward profitability despite a cooling domestic run.
Elsewhere in the top ten, mid-tier titles such as Crime 101, Send Help, and I Can Only Imagine 2 continued their theatrical runs with moderate declines, while specialty programming like EPiC: Elvis Presley in Concert maintained a presence through targeted expansion.
The broader weekend reflects a familiar pattern in the current theatrical landscape. Horror franchises continue to deliver strong openings, family animation provides the most reliable box office stability, and prestige or experimental genre hybrids face increasing difficulty justifying large budgets.
For Pixar and Disney, however, the launch of Hoppers offers a welcome reminder that original animated storytelling can still break through — provided the audience response is strong enough to generate the long theatrical run that family films depend on.
Box office figures are based on studio estimates and data from Box Office Mojo. Final numbers may shift as updated actuals are reported.